Cleveland Art : The Cleveland Museum of Art Members Magazine. Vol. 53 no. 03, May/June 2013

THE CLEVELAND MUSEUM OF ART MEMBERS MAGAZINE

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FROM THE DIRECTOR

COVER
Tiger Family

(detail) late 18th
century. Korea,
Joseon period
(1392-1910). Hang¬
ing scroll, ink and
color on paper;

170.2 x 90.8 cm.
Leonard C. Hanna Jr.
Fund 1997.148. Fea¬
tured in the north
galleries, opening
June 22.

2

Dear Members,

I begin with a note of gratitude and remembrance: long¬
time museum trustee Dr. Norman Zaworski died in Feb¬
ruary at age 92. For decades, his principled guidance
helped shape the museum and supported every director
who had the privilege of working with him.

The second in our series of focus gallery exhibi¬
tions, Sonya Rhie Quintanilla’s new show Tantra in
Buddhist Art, on view May 5 to September 15, draws
on the museum’s deep holdings to trace the influence of
tantric practice through a thousand years of Asian art.
See page 4 for the curator’s full introduction.

I am especially excited to urge you to visit an instal¬
lation of a seminal work by a fellow Canadian. Artist
Janet Cardiff creates sound installations that transform
the spaces in which they are installed into unique sculp¬
tural experiences. Her most famous work to date will be
on view here May 4 to June 9 in the Reid Gallery, the
barrel-vaulted room housing Italian Baroque art. She
created Forty-Part Motet by separately recording each
of the 40 vocal parts of a 16th-century choral work by
Thomas Tallis. The installation consists of 40 speakers
arranged around the perimeter of the space, playing the
14-minute piece. See the article on page 6.

Another notable sound offering happens courtesy
of our own Tom Welsh and the Cleveland Orchestra.
During the mid to late 20th century, composers from
California created some of the most compelling music
in the orchestral realm. Tom worked with the orchestra’s
principal assistant conductor James Feddeck to put to¬
gether a program featuring works by these composers,
performed on the Gartner stage on May 1 and 3 by the
Cleveland Orchestra. The two busy men managed to
carve out five minutes for a conversation, on page 7. Our
deepest thanks to the following, whose support helped

make these concerts possible: the Keithley Fund for Ar¬
tistic Collaboration at the Cleveland Orchestra, and from
the museum, the Ernest L. and Louise M. Gartner Fund,
R J. McMyler Musical Endowment Fund, and Anton and
Rose Zverina Music Fund.

June is the month for two justly popular annual
events. On Saturday the 8th is the 24th Parade the Cir¬
cle. Parade director Robin VanLear describes on page
8 how the museum’s Community Arts studio operates.
Saturday, June 22 brings the next Solstice party, another
Tom Welsh brainchild that creates a one-night music
festival on the museum’s south terrace. Because it’s such
a trend-setting occasion, we have no idea who the acts
are at this early date. But we do know what else will be
happening that night: the brand-new north galleries will
open to the public.

Starting on the east end, these galleries house the
collections of the art of the Americas, a room featuring
exhibitions from the museum’s great holdings of textiles
(beginning with Islamic silks), and on the west, the gal¬
leries of Japanese and Korean art. See page 10 for an
overview and selection of images. The curators of those
collections will offer full articles about their new galler¬
ies in the July/August magazine.

Finally, as we get closer to 12/31/13 when the entire
renovation and expansion project will be officially com¬
plete, I would like to thank you, our members, for pa¬
tiently supporting the museum throughout the process,
and for bringing your friends and family to marvel at

David Franklin

The Sarah S. and Alexander M. Cutler Director

CLEVELAND ART

Cleveland Art: The Cleveland Museum
of Art Members Magazine

Vol. 53 no. 3, May/June 2013
(ISSN 1554-2254). Published bimonthly by
the Cleveland Museum of Art, 11150 East
Boulevard, Cleveland, Ohio 44106-1797.
POSTMASTER: Send address changes
to Cleveland Art: The Cleveland Museum
of Art Members Magazine at the
Cleveland Museum of Art, 11150 East
Boulevard, Cleveland, Ohio 44106.
Subscription included in membership
fee. Periodicals postage paid at
Cleveland, Ohio.

Questions? Comments?

magazine@clevelandart.org

Magazine Staff

Editing: Barbara J. Bradley, Gregory M.
Donley, Kathleen Mills. Education
listings: Liz Wilcox-Clay

Design: Gregory M. Donley

Photography: Floward T. Agriesti,

David Brichford, Gregory M. Donley,
Gary Kirchenbauer

Printed in Cleveland by Great Lakes
Integrated

cuyahoga

arts & culture

Ohio Arts Council

A STATE AGENCY
THAT SUPPORTS PUBLIC
PROGRAMS IN THE ARTS

May/June 2013

ON VIEW

The Last Days of Pompeii:

Decadence, Apocalypse,

Resurrection Through July 7, Smith
Exhibition Hall. The volcanic destruc¬
tion of Pompeii in ad 79 has been an
obsession for artists from Piranesi,
Ingres, and Alma-Tadema to
Duchamp, Rothko, and Warhol.

Co-organized by the J. Paul Getty Museum and the
Cleveland Museum of Art. BakerHostetler is the
presenting sponsor of this exhibition in Cleveland.

BakerHostetler

Fred Wilson: Works 2004-2011

Through May 5, east wing glass box
gallery. A unique installation centered
on To Die Upon a Kiss , a glass chande¬
lier hanging in the glass box gallery.

British Drawings from the Cleveland
Museum of Art Through May 26, prints
and drawings galleries. This show of
about 50 drawings includes works by
some of the best-known artists in the
history of British art.

A View from Moel Cynwich: Looking over the Vale of Afon Mawddach and Toward
Cader Idris c. 1850. William Turner of Oxford (British, 1789-1862). Watercolor with
scratch-away, heightened with white; 48.9 x 70.3 cm. Purchase from the J. H. Wade Fund
2010.147

Blown down and
standing dead trees
at edge of impact
zone, 4 miles west
of Mount St. Helens
1982. Frank Gohlke
(American, born
1942). Gelatin silver
print; 25 x 29 in.

© Frank Gohlke/
courtesy: Howard
Greenberg Gallery

American Vesuvius: The Aftermath
of Mount St. Helens by Frank Gohlke
and Emmet Gowin Through June 2,
photography galleries. Important
series by two photographers who
independently visited the site after the
1980 volcanic eruption.

Made possible through the support of Nesnadny
+ Schwartz

The Caporali Missal: A Masterpiece
of Renaissance Illumination Through
June 2, Smith Exhibition Gallery. This
exhibition revolves around a sump¬
tuous and important Renaissance
manuscript acquired by the museum
in 2006.

Connecting with Caporali Through
June 2, education lobby. Showcases
the artwork of students from several
local universities created in response
to the themes and objects in the CMA
exhibition The Caporali Missal: A Mas¬
terpiece of Renaissance Illumination.

Renaissance Textiles Through Decem¬
ber 1, gallery 114. About 15 Italian silks,
velvets, and altar frontals of the 14th
and 15th centuries from the museum’s
world-class collection.

Forty-Part Motet May 4-June 9, Reid
Gallery. Janet Cardiff’s masterpiece
features 40 speakers, mounted on
stands and displayed in an oval circle
facing inward, playing a 16th-century
choral work by Thomas Tallis, with
each of the 40 voices recorded
individually.

Presented at the Cleveland Museum of Art, from
the collection of the National Gallery of Canada,
Ottawa

Tantra in Buddhist Art May 5-Septem-
ber 15, Focus Gallery. This exhibition
explores the concept and characteris¬
tics of Tantra in the Buddhist context
through art from across Asia.

Damian Ortega June 2-September
29, glass box gallery. The third con¬
temporary art installation in this space
centers around Damian Ortega’s
impressive, suspended sculpture The
Controller of the Universe.

Less Is More: Minimal Prints June
16-October 20, prints and drawings
galleries. Donald Judd, Sol LeWitt,
and Frank Stella are among the artists
represented in this show of about 50
works from the 1960s and 1970s when
a style of flat geometric shapes was
popular.

Carrie Mae Weems: Three Decades of
Photography and Video June 30-Sep-
tember 29, Smith Exhibition Gallery
and photography galleries. Carrie Mae
Weems, dedicated to bettering the
human condition through art, has for
three decades produced challenging,
compelling photographs, videos, and
installations that address issues of
race, gender, and class.

3

www.ClevelandArt.org

Sonya Rhie Quintanilla George P. Bickford Curator of Indian and Southeast Asian Art

Tantra in Buddhist Art

A new exhibition explores how art was used to achieve enlightenment
in a single lifetime

T he next exhibition in Gallery One’s new focus space ex¬
plores the concept and characteristics of Tantra through
art from regions across Asia. Among the most familiar
Sanskrit terms to enter the Western imagination, Tantra
carries vague resonances of forbidden and culturally
subversive religious practices. Twenty works of outstand¬
ing aesthetic quality, ranging from the seventh to the
17th century, introduce visitors to key elements of tan-
trie art to show how it was used to reach the Buddhist
spiritual goal of enlightenment and the eternal bliss of
nirvana.

Tantra refers to a system of techniques used for
attaining enlightenment more quickly than within con¬
ventional social or religious structures. In tantric Bud¬
dhism, also called Esoteric Buddhism, the teachings
remain secret except to initiates. Another name for it is
Vajrayana, or the “Lightning-bolt Vehicle”; when prac¬
ticed correctly, its followers maintain, tantric methods
can lead to enlightenment with blazing speed. Tantric

EXHIBITION
Tantra in
Buddhist Art

May 5-
September 15

Virupa 1407-10.
China. Gilt bronze;
H. 43.6 cm. Gift
of Mary B. Lee, C.
Bingham Blossom,
Dudley S. Blos¬
som III, Laurel B.
Kovacik, and Eliza¬
beth B. Blossom in
memory of Eliza¬
beth B. Blossom
1972.96

practices center on visualization in yogic meditation,
repetition of codified syllables called mantras , perfor¬
mance of rituals, and prolific use of diagrams and
images.

Transmitted directly from teacher to disciple, tantric
teachings can be traced through lineages back to holy
men who recorded them in texts called tantras. The con¬
tents of the tantras are said to have been revealed by en¬
lightened beings who appeared in the meditative visions
of yogis. Portraits of lineage masters so common in the
art of Tantra underscore the importance of the legitimate
teacher. The exhibition features paintings and sculp¬
tures of Virupa, a founding lineage master who lived in
northeastern India during the ninth century. According
to Virupa’s hagiography, for many years he studied as
a Buddhist monk but left the monastery in frustration,
feeling that he was no closer to enlightenment than when
he started. He began to wander as a yogi, and in the
midst of his meditations Nairatmya, an enlightened be¬
ing who personifies Wisdom, spontaneously appeared
to him. She explained how to follow the techniques set
forth in the Hevajra Tantra , and Virupa thus reached
enlightenment. No longer bound by the rules of the ordi¬
nary world, he then could perform miracles such as stop¬
ping the setting of the sun in order to extend payment of a
tavern bill. His purpose in achieving enlightenment, how¬
ever, was not to acquire superhuman powers but to teach
tantric methods to others, to aid them in reaching enlight¬
enment quickly, and ultimately to eradicate suffering in
the world: the more enlightenment, the less suffering.

The imposing Chinese bronze sculpture of Virupa
dating to around 1407-10 was made in the imperial
workshop of the Ming dynasty’s Yongle emperor and sent
as a gift to a high-ranking Buddhist leader in Tibet who
traced his lineage to the revered teacher. In accordance
with Virupa’s standard iconography, the sculpture shows
him as a portly Indian yogi who sits on the traditional
antelope skin, but unlike a monk or yogi he wears gar¬
lands of flowers and costly jewels. These apparently
contradictory elements are intended to cause the viewer
to question conventional societal notions of how things
ought to look, since such notions keep one tied to the
ordinary world from which tantric practitioners attempt
to break free. His bulging eyes reference the power of
ferocity to eradicate mental impediments and negativi¬
ties. He points to the sun to stop it in its tracks, and in

4 May/June 2013

Mandala of
Vajradakini

(detail of cremation
grounds) c. 1425.
Central Tibet, Ngor
Monastery. Opaque
watercolor on cot¬
ton; 82.5 x 72.4 cm.
Purchase from the
J. H. Wade Fund
1993.4

his right hand he holds a tantric object, a skull bowl
filled with blood and pus. These substances, consid¬
ered fearsome and gruesome by the uninitiated, to the
tantric master are equal to a golden cup of nectar. The
differences between blood and nectar, bone and gold
are considered purely illusory mental constructs that
the practitioner must overcome in order to reach en¬
lightenment. Cremation grounds and cemeteries are the
preferred location where Virupa and other tantric prac¬
titioners perform their rituals and meditations. There
they can quickly internalize and come to terms with the
body’s inevitable decay and destruction, thus conquering
the fear of death and attachment to one’s physical self.

Tantric art and rituals are accelerated methods of
reaching enlightenment that require training and skill.
They are based on the idea that visualization is a power¬
ful way to control the mind. If abstract negativities, such
as fear or pride, impede the attainment of enlighten¬
ment, tantric practices explain how to project them into
real forms and visually defeat them with powerful im¬
ages that stand for the forces of compassion, skill, and
wisdom. The use of weapons in tantric art does not sub¬
vert the pacifist teachings of the Buddha; they are used
metaphorically to conquer psychological impediments.
The sexual imagery of tantric art depicts personifications
of Wisdom, the female, and Compassion, the male, whose
union results in the bliss of the enlightened state. Their
multiple arms indicate their superhuman power to aid the
practitioner in skillful accomplishment of the goal.

Tantra flourished in Nepal and Tibet long after
it disappeared from India after the 13th century.

Tantric Buddhism spread to China and Japan as early
as the eighth and ninth centuries and became promi¬
nent sects, often supported by the ruling elite. The

Hevajra and Consort Nairatmya late 16th century. Central Tibet.
Opaque watercolor on cotton; 105.7 x 91.4 cm. Lent by the
Catherine and Ralph Benkaim Collection

importance of Southeast Asia in the history of Tantra
is also set forth in the exhibition with five objects from
the Khmer and Javanese kingdoms dating between the
ninth and 12th centuries. Works of art and inscrip¬
tions found from Vietnam, Thailand, Cambodia, and
Indonesia reveal widespread practice of Tantra prior to
the 14th century, when it was supplanted by a different
form of Buddhism. Ittl=

Amy Sparks Assistant Editor, Curatorial Publications

Forty-Part Motet

Janet Cardiff uses sound to redefine sculpture

EXHIBITION
Forty-Part
Motet May 4-

June 9, Reid
Gallery

y exploring the spatial qualities of sound, few other art¬
ists have influenced the actual notion of what sculpture
can be than Janet Cardiff. For five weeks the installation
many regard as Cardiff’s masterpiece, Forty-Part Motet ,
will transform the Cleveland Museum of Art’s Italian
Baroque gallery into a unique art setting. Forty speak¬
ers, mounted on stands and arranged in an oval facing
inward, play Spent in Alium , a 16th-century choral work
by Thomas Tallis. Because each member of the choir
was recorded separately, one can hear their individual
voices coming from the different speakers, and what is
usually experienced as a distant recording suddenly
becomes approachable and haunting.

While Cardiff prefers a white box gallery setting
for Forty-Part Motet , it has been installed in old stone
churches and other noncontemporary spaces (even wine
cellars) around the world. The Italian Baroque gallery,
the museum’s former indoor garden court, is “the heart

Recorded in 2000 at Salisbury Cathedral in
England, Forty-Part Motet features the cathedral’s choir
along with hired singers from throughout the UK. Each
of the 40 singers was individually recorded, and un¬
beknownst to them Cardiff kept recording even during
breaks, giving the work what she calls a “down-to-earth”
aspect. In the installation the 40 speakers are arranged
in what the artist describes as a matrix; she is interested
in the sound moving around the audience, as well as
moving through the space. Reactions to the work are
often quite emotional, and Cardiff enjoys seeing skeptics
walk in and watching their reactions. Although the lyr¬
ics are in Latin, what Cardiff calls a kind of “invisible
language,” she is more interested in the notes and how
they act. “You can almost see the movement of the music
around the room.”

Cardiff works closely with her husband, George
Bures Miller, with whom she lives in Alberta, though

Forty-Part Motet

2001. View of Janet
Cardiff’s 40-track
audio installation,

14 minutes in dura¬
tion, at the Rideau
Chapel, National
Gallery of Canada,
Ottawa. National
Gallery of Canada.
Purchased 2001.

Right: The Reid
Gallery, site of
the Cleveland
installation

Presented at the
Cleveland Museum of
Art, from the collection
of the National Gallery
of Canada, Ottawa

of the museum,” says CMA director David Franklin. “It
will be like a siren song calling people from all over the
museum.”

Cardiff was born and raised on a farm in Ontario, a
setting that deeply influenced her relationship to space
and sound. At one time she thought about being a novel¬
ist, then studied printmaking in school, but found those
static, two-dimensional modes inadequate for what she
needed to do. The essence of those early desires, how¬
ever—creating a narrative and layering bits together—
have remained in her sound sculptures and installations.

they have spent a good deal of time in Berlin. With each
new advancement in technology, their work changes:
“Our latest piece is two different work tables with about
60 different bare speakers on them. As you walk around,
you are shadowed—the table senses your proximity and
turns various speakers on for about eight seconds. We’re
using various musicians and taking bits and pieces and
putting them together.”

For fellow Canadian David Franklin, Forty-
Part Motet “fulfills a dream of living inside a work
of art.” Ittl=

6 May/June 2013

Tom Welsh Director of City Stages

Five Minutes with James Feddeck

On May 1 and 3, assistant conductor James Feddeck leads the
Cleveland Orchestra in “California Masterworks” at the museum

CONCERTS

Wednesday, May
1 and Friday,

May 3, 7:30. The
Cleveland Or¬
chestra performs
“California Mas¬
terworks”: Music
of Lou Harrison,
Terry Riley, John
Adams, Henry
Cowell, Dane
Rudhyar, and
James Tenney

These programs are
made possible in
part by the Keithley
Fund for Artistic
Collaboration at the
Cleveland Orchestra,
and the Ernest L. and
Louise M. Gartner
Fund, P. J. McMyler
Musical Endowment
Fund, and Anton and
Rose Zverina Music
Fund at the Cleveland
Museum of Art.

his is the Cleveland Orchestra's second-ever set of
performances in Gartner Auditorium. Are you excited
to be back?

It is a thrill for us to return to Gartner Auditorium this
May. Following the enormous success of our Cleveland
Orchestra/CMA collaboration in May 2011 with the
series “Italian Masterworks,” it is wonderful that we can
continue this partnership—especially given that we are
University Circle neighbors.

Did anything surprise you about the “Italian
Masterworks" concerts in 2011? What did you discover?
It was a real discovery for us to hear how well an or¬
chestra sounds in Gartner Auditorium. And it was a big
surprise for all of us to realize that prior to May 2011,
the Cleveland Orchestra had never performed at the
Cleveland Museum of Art. When we were planning and
envisioning the “Italian Masterworks” festival, it was
important for us to create parallels and bridges between
what both of our institutions inherently do by definition
in order to create a series of events that would truly be
more than the sum of two very strong parts. It was amaz¬
ing just how well our two institutions complement each
other, and to be a part of and witness that result—an
incredible multifaceted, interdisciplinary journey.

For this collaboration , the orchestra turns its attention
to composers from the West Coast. Why “California
Masterworks" ?

We wanted to shift our focus to the American musical
landscape. As an American orchestra—or any Ameri¬
can cultural institution, I suppose—this must be a pri¬
ority. I strongly feel that those of us who live and work
in the United States must illuminate the work of our
own artists and composers. Of course, given the sheer
variety of styles present in the New World, we had the
daunting task of trying to figure out: is there a common
thread? As we sought to answer that question, the path
consistently led to California. Already in the late 1920s
and ’30s innovative movements were taking root in Cali¬
fornia that brought forth significant influences. Some¬
thing about California in that time and the decades that
followed made experimentation and the integration of a
multicultural approach to music making prevalent, and
not just in fringe avant-garde circles.

Any favorites?

I am particularly looking forward to Dane Rudhyar’s Out
of the Darkness. The piece was written in 1982, and it is
hard to believe that we will only now be giving its world
premiere. I also look forward to working with our guest
artists: the Calder Quartet for Terry Riley’s The Sands
and Stephen Rose for Lou Harrison’s Suite for Violin
and String Orchestra. It is always a real joy to collabo¬
rate with such wonderful soloists and guest artists.

Will these composers find their way to the center of
the repertoire? Or, why haven't they?

Of course, only time can tell what remains in the reper¬
toire and what doesn’t, but in the meantime we should
make all musical perspectives known and explore what
their statements might reveal about our own time. Clas¬
sical music has always had those who sought to bring
new dimensions—Ravel introducing the saxophone for
Bolero , or Beethoven bringing trombones into his sym¬
phonies. I do suspect that history will reserve a place for
these “California Masterworks,” as their greater influ¬
ences on the arts cannot be ignored. (ftl=

Each concert $29-$44. Students pay what they can at the door. For additional
information about specific programs and films including preconcert lectures
by Henry Adams, visit ClevelandArt.org/CaliforniaMasterworks.

7 www.ClevelandArt.org

Robin VanLear Director of Community Arts

Parade the Flats

The museum’s Community Arts workshop is a center of creativity

March of Drawings

Sketches by Robin
Heinrich for the
parade’s opening
ensemble, inspired
by Yoruba Egungun
ceremonies from
West Africa

ow!” That’s the usual reaction of first-time visitors to
the main studio space at the museum’s Community Arts
facility. Located on Columbus Road between Irishtown
Bend and Collision Bend in the industrial area of Cleve¬
land’s Flats neighborhood, the Community Arts complex
occupies an area on the east bank of the Cuyahoga River
that feels like the west. The three buildings that make
up the complex have important ties to the region’s his¬
tory. The main studio, a 5,000-square-foot brick build¬
ing, once housed Cleveland’s first pipeline foundry. The
costume shop originally was a small brick section of St.
Mary’s on-the-Flats, Cleveland’s first Catholic church,
more properly known as, according to The Encyclopedia
of Cleveland History, Our Lady of the Lakes. Attended
by Germans, Irish, Bohemians, and Poles, by the time
the wooden sanctuary was razed in 1888 this tiny parish
had spawned three of Cleveland’s most notable contem¬
porary parishes: St. Malachi, St. Wenceslas, and St.
Stanislaus. The most modern section of the arts complex
was built as Gillespie’s shipping and receiving facility.
Today it houses the Community Arts Flats office and
2,500 square feet of storage for giant puppets, costumes,
and masks.

Most visitors to the complex arrive at the main
studio where they are greeted by an awe-inspiring col¬
lection of artifacts from previous Parade the Circle

celebrations and Lantern Festivals. A 15-foot-tall punk
rocker puppet shares space with large welded batik bird
lanterns, a brightly colored alebrije cartoneria (a fantas¬
tical creature made of papier-mache), pieces of parade
floats, and myriad giant puppet heads that hang from the
rafters and lean out from walls.

The Community Arts facility serves a variety of
functions. Parade the Circle guest artists from the Unit¬
ed States and around the world work there to fabricate
elements of their parade creations. New and returning
parade group leaders attend training and planning work¬
shops at the complex each spring. Throughout the year
this adaptable space allows the museum to offer painting
and drawing classes, as well as a variety of community
workshops in preparation for events such as last au¬
tumn’s opening of the new atrium, when two dozen com¬
munity groups representing the diversity of Cleveland’s
ethnic and cultural organizations met for six weeks to
create batik banners that hung from the atrium’s allee.

Each season brings a new look to the studio. If you
visit today you will see thousands of plastic bottle caps,
sorted by color and size, being applied to mesh panels by
the team of artists creating the opening ensemble for
Parade 2013. On June 8 dancers will bring these
modern-day Egungun costumes to life as they make
their way around Wade Oval. fftl=

8

May/June 2013

ON THE ROAD

O

CJ

See works from Cleveland’s collection
in exhibitions around the world

Wari: Lords of the Ancient Andes,
organized by the CMA and including
12 Peruvian works from Cleveland’s
collection, is at the Ft. Lauderdale
Museum of Art through May 19, then
travels to the Kimbell Art Museum,
Fort Worth, June 16 to September 8.

The Springtime of the Renaissance:
Sculpture and the Arts in Florence,
1400-1460, at the Palazzo Strozzi,
Florence, Italy, through August 18,
then at the Musee du Louvre, Paris,
September 23 to January 6, includes
Mino da Fiesole’s monumental relief
sculpture Julius Caesar.

The museum owns George Bellows’s
greatest painting, Stag at Sharkey’s,
and has loaned it to the exhibition
George Bellows (1882-1925) at the
Royal Academy of Arts, London,
through June 9.

Inventing the Modern World: Deco¬
rative Arts at the World’s Fairs,
1851-1939, New Orleans Museum of
Art, through August 19; Mint Museum
of Art, Charlotte, September 21, 2013-
January 19, 2014. Includes CMA works
by Alexis Falize, the Sevres factory,
and the firm of Ferdinand Barbedi-
enne, Thorvald Bindesboll, and Jules-
Constant Peyre.

Impressionism, Fashion, and Moder¬
nity, at the Metropolitan Museum of
Art through May 27, then at the Art
Institute of Chicago from June 29 to
September 22, includes Jacques-
Joseph Tissot’s Seaside (July: Speci¬
men of a Portrait) and Gustave
Caillebotte’s Portrait of a Man.

PERSONAL FAVORITE

Industrial
Strength Longtime
Cleveland-area
photographer
Jennie Jones feels
a strong affin¬
ity with this 1939
painting by Rafael
Gleitsmann on view
in Gallery One.

Jennie Jones, photographer Maybe
The White Dam by Rafael Gleitsmann
appeals to me as the forms remind
me of the Flats—the grain elevator,
the bridges, the steel mills all crowded
into a small space. Visual artists often
“predict” the direction of society. Our
talent, our skill is “seeing.” We visu¬
ally record our response to the world
around us on film or canvas—the
shapes, the sounds, the struggles of
the world in which we live. I am, of
course, looking at this painting in 2013.
It was painted in 1939.1 was born in
1932 and went with my parents at the
age of seven to the New York World’s
Fair. Its opening slogan was “It’s the
dawn of a new day!” This era was the

beginning of the accelerated growth of
the industrial/urban landscape neces¬
sitated by the challenge of two world
wars. There was awe and respect for
the men and the machines that won
WWII. But the land paid a price.

In Gleitsmann’s painting we find that
same homage, but it is uneasy. We can
see the love affair with industry—but
it’s not a jolly thing. Shapes, compo¬
sition, and arbitrary perspective are
concentrated in the center of the can¬
vas surrounded by a strange, disrupted
landscape. The land has clearly been
disturbed with mounds of coal, ore,
and materials ready for use. The sky is
uneasy and foreboding. This was the
era of the great dust storms in the prai¬
rie lands as the soils were stripped for
human use. The puzzling juxtaposition
of the two human figures speaks to the
unresolved relationship between man
and this new manmade environment.
This is one of those pictures that asks
you questions but doesn’t give you
any answers, which is another reason I
like it.

Itinerant Fighter Stag at Sharkey’s is tour¬
ing in a George Bellows retrospective, so
you’ll have to go to London to see it now.

This is not my “favorite” in the muse¬
um collection, but in my own work I am
drawn to the Midwest landscape. The
remaining industrial forms and shapes
found in the Flats are the physical evi¬
dence of this inland world of brawn and
power. The work also appeals to me
because he’s an Ohio artist, and I really
believe in the depth of talent we have
here in the region.

Gleitsmann never really got fully
caught up in the art trends of his era,
but like many midwestern artists he
translated those styles into his own vi¬
sual idioms. Elis work falls into the same
genre as Charles Sheeler, whose pho¬
tography has had a great impact on my
own work. Sheeler’s work is formal and
static in its portraiture of the industrial/
urban landscape. Gleitsmann’s work
is more emotional and brooding. The
White Dam seems to foretell the future
of environmental and human concerns.
It is brilliant to place this piece in
Gallery One.

TEXTILES
Brocaded Velvet
Cover with Sun¬
bursts early 1600s.
Turkey, Istanbul or
Bursa, Ottoman
period. Brocaded
velvet; silk, gilt
and silver metal
thread, cotton; 181
x 127 cm. John L.
Severance Fund
2008.146

10 May/June 2013

ART OF THE AMERICAS

Front Face of a Stela (Free-standing Stone with Relief) 692.
Mesoamerica, Guatemala, Maya people, Classic Period (ad 200-
1000). Limestone; 274.4 x 182 cm. Purchase from the J. H. Wade
Fund 1967.29

Oculate Being Mask 300 bc-ad 1. Ceramic, resin-based paint;
23.6 x 22 cm. Purchase from the J. H. Wade Fund 2003.39

Gregory M. Donley Magazine Staff

North Galleries Preview

At the end of June, galleries featuring art of the Americas, textiles, and
Japanese and Korean art open to the public

JAPAN/KOREA
Horse Race at
the Kamo Shrine

1600-1650. Tosa
School (Japanese).
One of a pair of
six-fold screens; ink
and color on gilded
paper; 161 x 362 cm.
Purchase from the
J. H. Wade Fund
1976.95.1

Amitabha (Amita)

800s. Korea, Uni¬
fied Silla period
(668-935). Gilt
bronze; H. 25.4 cm.
Leonard C. Hanna
Jr. Fund 1988.34

O n June 22, the latest (and next-to-last) suite of new
galleries opens to the public. On the second floor,
stretching from the future galleries of Chinese art (open¬
ing in December) on the west end to the galleries of
contemporary art on the east, the north galleries provide
state-of-the-art exhibition space for some of the mu¬
seum’s most highly esteemed collections. Japanese and
Korean art, whose home for decades was in a converted
auditorium space in the lowest level of the original 1916
building, occupy the westernmost rooms—an installa¬
tion that represents the first time in the history of this
museum famed for its Asian holdings that these works
of art will be displayed in galleries designed and built
to show them to best advantage. In the center is the new
Arlene S. and Arthur S. Holden Gallery, where special
exhibitions of textiles will be held annually, starting
with Luxuriance: Silks from Islamic Lands , 13th-19th
Century. And at the eastern end is Cleveland’s strong
collection of the art of the Americas. Two recent exhibi¬
tions, last year’s Wari show and the Thaw Collection
exhibition of Native American art from 2009, offered
a taste of what will be on view here. Watch the July/
August issue of Cleveland Art (scheduled to mail to
members on June 21) for articles from each of the
curators—Seunghye Sun, Louise Mackie, and Susan
Bergh—about these brand-new spaces and the works of
art that now live there. fftl=

11 www.ClevelandArt.org

SOUND (AND IMAGE) CITY

New and old films from around the
world. Unless noted, all show in the
lecture hall. Each film $9; CMA mem¬
bers, seniors 65 & over, and students
$7; or one CMA Film Series voucher.
Vouchers, in books of ten, can be pur¬
chased at the museum ticket center
for $70, CMA members $60.

BACK BY POPULAR DEMAND!

All Together Wednesday, May 1, 7:00.
Directed by Stephane Robelin. With
Jane Fonda, Geraldine Chaplin, and
Pierre Richard. Five retired friends
decide to move in together and hire a
handsome college student to be their
live-in caretaker. But petty jealousies
and long-buried secrets jeopardize
their experiment in communal living.

“A joyous ensemble of septuagenar¬
ians in a sweet, thoughtful and spirited
examination of how to grow old with
dignity and pride” -Rex Reed. (France,
2011, subtitles, 96 min.)

Cheerful Weather Cheerful Weather for the Wedding
for the Wedding Friday, May 3, 7:00. Sunday, May 5,
Melancholic farce 1:30. Directed by Donald Rice. With
Felicity Jones, Luke Treadaway, and
Elizabeth McGovern. Set at a British
country manor house circa 1930, this
lush period piece focuses on a young
bride on her wedding day as she frets
and drinks in her room. Meanwhile her
mother, husband-to-be, and ex-lover
pace downstairs with the assembled
guests. “You’d be forgiven for think¬
ing that you’ve just stumbled into a
lost episode of Downton Abbey ...

A complex, melancholic farce” -Time
Out New York. Cleveland theatrical
premiere. (UK, 2012, 93 min.)

John Dies at the End Wednesday, May
8, 7:00. Directed by Don Coscarelli.
With Paul Giamatti. In the new sci-fi
horror comedy from the director of
Phantasm and Bubba Ho-tep, two
college dropouts try to save humanity
from mutants created by a mysteri¬
ous, mind-expanding, dimension-
shattering drug. “Don Coscarelli is
one of the genuine underappreciated
geniuses of American cinema ... A
thoroughly deranged, time-stretching,
alternate-universe, hallucinatory
horror-comedy” -Salon. Adults only!
East Side Cleveland premiere. (USA,
2012, 99 min.)

Sound City Friday, May 10, 7:00. Di¬
rected by David Grohl. With Trent
Reznor and Tom Petty. Foo Fighters
founder and Nirvana drummer Dave
Grohl pays tribute to San Fernando
Valley’s innovative but now defunct
Sound City Studios, where unique
analog technology produced memo¬
rable recordings by Fleetwood Mac,
Neil Young, and others. (USA, 2013,

108 min.)

In Another Country Wednesday, May
15, 7:00. Directed by Flong Sang-soo.
This clever, funny three-part film, set
at a South Korean coastal resort town,
stars Isabelle Fluppert as three differ¬
ent French visitors, all named Anne,
who interact with the same locals in
each vignette. East Side Cleveland
premiere. (South Korea, 2012, sub¬
titles, 89 min.)

Happy People: A Year in the Taiga Fri¬
day, May 17, 7:00. Directed by Dmitry
Vasyukov and Werner Herzog. Co¬
director Herzog edited and narrates
this documentary about fur trappers
living in the remote Siberian Taiga, a
vast, expansive, dangerous wilderness.
Cleveland theatrical premiere. (Ger¬
many, 2010, subtitles, 90 min.)

12 May/June 2013

Future Weather Meet the filmmaker

The Law in These Parts Wednesday,
May 22, 7:00. Directed by Ra’anan Al-
exandrowicz. In this tough inquiry into
legality and justice, prominent Israeli
lawyers and judges are interviewed
about laws created for residents of
the West Bank and Gaza Strip after
1967’s Six Day War—laws that are still
in effect. Best Documentary, Jerusa¬
lem Film Festival. Cleveland premiere.
(Israel/Palestine, 2011, subtitles, 100
min.)

FILMMAKER IN PERSON!

Future Weather Friday, May 24, 6:45.
Directed by Jenny Deller. With Perla
Haney-Jardine, Amy Madigan, and Lili
Taylor. In this modest but affecting
family drama, a 13-year-old Illinois girl
obsessed with global warming goes
to live with her prickly grandmother
when her single mother abandons her.
Filmmaker Jenny Deller will answer
audience questions after the screen¬
ing. “Quietly spectacular... Integrates
a green message into a striking and
emotional drama about intergenera-
tional female conflict” -Variety. Cleve¬
land premiere. (USA, 2012,100 min.)

Sins of Pompeii (The Last Days of
Pompeii) Wednesday, May 29, 6:30.
Directed by Marcel L’Herbier and
Paolo Moffa. With Micheline Presle.
This forgotten rarity is an opulent
version of Bulwer-Lytton’s novel that
was shot in Italy and France over a
two-year period. Dubbed in English.
(France/Italy, 1950, approx. 95 min.)
Preceded at 6:30 by the 25-minute
documentary Pompeii: Once There
Was a City (USA, 1970).

Happy People Taiga tale

Dave Filipi presents Rare Baseball
Films: The Newsreels, Part 2 Friday,
May 31, 6:30. With Clevelanders excit¬
ed about the Indians, it’s time for an¬
other edition of “Rare Baseball Films”
presented by Dave Filipi, director of
Film/Video at the Wexner Center for
the Arts in Columbus. This year’s 10th
anniversary show, like last year’s,
draws on the Flearst Metrotone News
Collection at the UCLA Film & Televi¬
sion Archive. Before television, theatri¬
cal newsreels were the only way most
fans could see players from around
the country in action. This new
compilation features greats like Joe
DiMaggio, Willie Mays, and Roger
Maris; footage from the Negro and
Japanese leagues; elephants playing
baseball; and more! (USA, 1907-62,
approx. 120 min.) Special admission
$10; CMA members, seniors 65 & over,
students $8; no vouchers or passes.

Thanks to Todd Wiener and Steven Hill, UCLA
Film & Television Archive

Baseball Films The Source Family Wednesday, June
More sharp hits 5, 7:00. Directed by Maria Demo-

poulos and Jodi Wille. Archival pho¬
tographs and film footage provide a
revealing look inside the Source Fam¬
ily, a quintessential 1970s Southern
California cult and experiment in com¬
munal living founded and led by Jim
Baker/Father Yod. Adults only! Cleve¬
land premiere. (USA, 2012, 91 min.)

Trashed Friday, June 7, 7:00. Directed
by Candida Brady. Actor Jeremy Irons
tours some of the world’s most beauti¬
ful locations that have been despoiled
by garbage in this trash-talking
travelogue that addresses the global
challenges of waste disposal. “Cru¬
cial viewing for realists and alarmists
both” -NYDaily News. “Quietly livid”
-Village Voice. Cleveland premiere.
(USA, 2012, 98 min.)

Voyage to Italy and the West Side

SPECIAL OFFSITE EVENT!

NEW DIGITAL RESTORATION!
Voyage to Italy Tuesday, June 11,

7:00 at the Capitol Theatre, 1390 W.
65th St. Directed by Roberto Rossel¬
lini. With Ingrid Bergman and George
Sanders. In this revered and moving
drama, a British man and wife travel¬
ing in Italy suffer marital problems
that come to a head at Pompeii. In
English. Cleveland revival premiere.
(Italy/France, 1954, 97 min.) Advance
tickets at clevelandcinemas.com; no
vouchers.

Thanks to Jon Forman and Dave Huffman,
Cleveland Cinemas

Greenwich Village: Music That De¬
fined a Generation Wednesday, June
12, 7:00. Friday, June 14, 7:00. Di¬
rected by Laura Archibald. With Pete
Seeger, Peter Yarrow, Judy Collins, et
al. This exploration of the 1960s NYC
folk revival includes interviews with
now-famous singers and snippets of
classic performances. “A most enjoy¬
able flashback” -Variety. Cleveland
premiere. (USA, 2012,121 min.)

In Bed with Ulysses Sunday, June 16,
1:30. Directed by Alan Adelson and
Kate Taverna. With Kathleen Chalfant.
Celebrate Bloomsday with this new
documentary about the landmark
James Joyce novel that took a toll on
its author and generated a firestorm
of controversy when first published.
“Strips away the academic clutter sur¬
rounding [the] kaleidoscopic novel to
reveal the vital human pulse between
its lines ... Lets fresh air into Ulysses
like a gust from the Irish Sea” -NY
Times. Cleveland premiere. (USA,
2012, 80 min.)

Our School Wednesday, June 19,

7:00. Directed by Mona Nicoara and
Miruna Coka-Cozma. This revealing
documentary chronicles the prejudice
and discrimination faced by three
Roma (“Gypsy”) children at a Tran¬
sylvanian public school. “[An] expose
of ingrained racism in the Romanian
educational system” -Variety. Cleve¬
land premiere. (Romania/USA, 2011,
subtitles, 95 min.)

Night Across the Street Friday, June
21, 7:00. Directed by Raul Ruiz. The
final film by the great Raul Ruiz ( Time
Regained ' Mysteries of Lisbon) is a
phantasmagorical blend of real life and
imagination in which an elderly of¬
fice worker looks back over his life via
personal recollections, fantasies like
filmgoing with Beethoven, and fondly
recalled fiction (e.g., Long John Silver).
“A playful supernatural fever dream”
-NY Times. Cleveland premiere. (Chile/
France, 2012, subtitles, 110 min.)

Porfirio Unfriendly skies

Porfirio Wednesday, June 26, 7:00.
Directed by Alejandro Landes. A
Colombian man partially paralyzed
by a police bullet and imprisoned in a
wheelchair plots his revenge and his
escape—an airplane hijacking. Based
on a headline-grabbing real case, this
blend of fact and fiction stars the real
participants. Adults only! Cleveland
premiere. (Colombia, 2011, subtitles,

101 min.)

War Witch Friday, June 28, 7:00. Di¬
rected by Kim Nguyen. One of the five
nominees for this year’s Oscar for Best
Foreign Language Film, this potent
drama tells of a 12-year-old African
girl with supernatural powers who is
drafted into a rebel army against her
will. Cleveland theatrical premiere.
(Canada, 2012, subtitles, 90 min.)

In Bed with Ulysses Literary affair

13 www.ClevelandArt.org

CALIFORNIA MASTERWORKS

o

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The Cleveland Orchestra’s perfor¬
mances in the museum in May 2011
were a milestone event and, accord¬
ing to the Plain Dealer, among the
year’s “high notes” in classical music.
This groundbreaking collaboration
continues, again following a master-
works theme, this time turning atten¬
tion to the west coast of the United
States. Classical music was inexorably
bumped off its European axis with the
emergence of California composers in¬
cluding Lou Harrison, Terry Riley, and
Henry Cowell, among many others.
After all, California, which faces away
from the influential European cities,
welcomed to its shores the cultures
of Southeast Asia and Latin America.
Non-European percussion traditions,
tuning systems, and compositional
architectures found their way into
music composed for orchestra and
the concert stage, creating a classical
canon of a different sort—refreshing
and exciting. These concerts, featuring
works by Harrison, Cowell, Riley, Dane
Rudhyar, John Adams, and James Ten¬
ney, are complemented with talks and
films. Each concert $29-$44. Students:
pay what you can at the door. For
additional information about specific
programs and films, visit ClevelandArt.
org/CaliforniaMasterworks.

Concert 1 Wednesday, May 1, 7:30;
preconcert talk by Henry Adams, “The
Quest for Nirvana and the Birth of
Modern Art,” 6:00.

Concert 2 Friday, May 3, 7:30; pre¬
concert talk by Henry Adams, “The
Funkiness of California Art in the 20th
Century,” 6:00.

RELATED FILM SERIES

Tom Welsh, the museum’s director of
City Stages, introduces and discusses
all three films. Each program $9; CMA
members, seniors 65 & over, and
students $7; or one CMA Film Series
voucher.

Music with Balls and Crossroads

Friday, April 26, 7:00

Lou Harrison: A World of Music

Sunday, April 28,1:30

May/June 2013

FREE CONCERT

Chamber Music in the Galleries

Wednesday, May 1, 6:00. The 2012-13
“First Wednesdays” gallery concert
series concludes with a performance
by young artists from the Cleveland
Institute of Music. Program to be an¬
nounced week of performance. Check
the museum’s Facebook page, Twitter,
and web site for details.

COMING IN JULY

The Cleveland International Piano
Competition (CIPC) will hold the solo
rounds of the 2013 competition at the
Cleveland Museum of Art. Subscrip¬
tions, tickets to individual rounds, and
festival events go on sale June 1.

Visit clevelandpiano.org or call
216-707-5397 for more information.

14

PARADE THE CIRCLE

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Parade the Circle Saturday, June 8,
parade at noon. This year’s parade
theme for the museum’s unique com¬
munity arts event is Sol de Luna Nue-
va/Sunshine of the New Moon. Guest
artists join Greater Cleveland artists,
families, schools, and community
groups for the 24th annual parade.

The museum presents Parade the
Circle. University Circle Inc. presents
Circle Village (activities, entertain¬
ment, and food) on Wade Oval from
11:00-4:00. For information on Circle
Village, call UCI at 216-707-5033.

Parade the Circle is generously sponsored by
Glidden® brand paint and Medical Mutual of Ohio.

Join the parade for $6/person. No
written words, logos, motorized ve¬
hicles (except wheelchairs), or live
animals are allowed. To be listed in the
printed program, register by Sunday,
May 19. For parade wristbands and
privileges, register by Tuesday, June
4. Register for all workshops or for the
parade during any listed workshop.

For further questions, call Community
Arts at 216-707-2483 or e-mail
commartsinfo@clevelandart.org.

Special Parade Workshops in Stilt¬
dancing A free drop-in Stilt Week¬
end is open to all: Saturday, May 11
and Sunday May 12,1:30-4:30. Stilt
artists give everyone an opportunity
to try walking on stilts. Workshop
passholders are given priority and
children must be at least 10 years
old. Passholders without stilts may
order them only during Stilt Week¬
end; $60-$75. Participants may
keep stilts after safety training.

Learn stilt safety, tying, and the art
of dancing on stilts at special Stilt¬
dancing for Paraders workshops on
Saturdays, May 18-June 1,1:30-4:30
(novice) and Sundays, May 19-June
2,1:30-4:30 (advanced); free with
workshop pass.

Musicians Wanted Calling for musi¬
cians to join the parade. Parade with
your own longstanding or newly
formed group; professionals and
weekend amateurs welcome. For
more information see ClevelandArt.
org/parade or contact Community
Arts.

Volunteers Lots of volunteers are

Basic Parade Workshops Fridays
6:00-9:00, Saturdays 1:30-4:30, and
Sundays 1:30-4:30 beginning May 3
and continuing until the parade. Art¬
ists help you make masks, costumes,
and giant puppets for your parade
entry. A workshop pass (individuals,
$50; families $150 up to 4 people,

$25 each additional person) covers
all workshops and includes parade
registration. Open to all ages; children
under 15 must register and attend with
someone older. Group rates available.

needed. Help at workshop sessions,
distribute posters and flyers, or fill
one of the dozens of parade day
jobs. Call the volunteer office at 216-
707-2593 for more information.

15 www.ClevelandArt.org

SOLSTICE

Saturday, June 22 What started as
a one-time celebration in 2009 has
evolved into one of Cleveland’s most
highly anticipated annual events. The
museum’s summertime cosmopolitan
music festival features the best in
global music and galleries open late
into the night. Tickets on sale starting
May 6.

Art, music, cocktails. Something dif¬
ferent every month Join us on the first
Friday evening of each month for an
ever-changing mix of art, music, and
mingling. Sip a cocktail, check out the
galleries with friends, take part in a
collaborative art project, and enjoy the
view. Visit ClevelandArt.org/MIX for
further details on the upcoming event,
or simply show up and enjoy. Advance
tickets strongly recommended.

LECTURES

Guided Tours Join our CMA-trained
volunteer docents as they lead visitors
through the permanent collections
and free exhibitions. Tours and topics
vary by presenter. Tours depart daily
at 1:30 from the information desk in
the Ames Family Atrium. Free.

Special Exhibition Tours: Pompeii

Docent-led tours of the special exhibi¬
tion The Last Days of Pompeii depart
from the information desk in the Ames
Family Atrium on Tuesdays, Wednes¬
days, Thursdays, and Saturdays at
2:30 in May. Additional tours on Fri¬
days and Sundays in June. Special
exhibition ticket required.

Special Exhibition Tours: British
Drawings and CaporaiiMissal Fridays,
May 3 and 17; Sundays, May 5,12,
and 19, 2:30. Docents lead a limited
number of tours focusing on the spe¬
cial exhibitions British Drawings and
Caporaii Missal. Tours depart from the
information desk in the Ames Family
Atrium. Free.

Picturing Pompeii Wednesday, May
15, 7:00. Nineteenth-century artists,
inspired by archaeological excavations
of Pompeii, often included depictions
of ancient artifacts in their works. Join
Mallory Potash, graduate student at
Case Western Reserve University, as
she explores how Pompeiian antiquities
and ruins were represented by artists
like Joseph Franque, Lawrence Alma-
Tadema, and Edouard Alexandre Sain.
Exhibition ticket required. Meet in the
exhibition.

Illuminating the Lightning Path: Art
of Buddhist Tantra Wednesday, May
29, 7:00. Using masterworks on view
from India, Tibet, China, and Cambodia,
exhibition curator Sonya Rhie Quinta¬
nilla explains the concept of Tantra and
the role of art in tantric practice. She
discusses the development of Tantra
in the history of Buddhism, its broad
geographical spread across Asia, and
how the concept has filtered into the
Western imagination. Meet in the focus
gallery.

Art Bites Take your lunch break at the
Cleveland Museum of Art! Revitalize
and refresh with art from the collec¬
tion in 30 minutes or less. It’s art with
a twist—unique topics inspired by your
favorite hobbies, books, television
shows, and more. Meet in the atrium.

Thursday, May 16,12:30. First Lesson
of Swordplay Stick ’em with the pointy
end. From Ice to Needle, explore real-
world equivalents of the arms and
armor in George R. R. Martin’s epic
novel A Game of Thrones.

Thursday, June 13,12:30. TV show: The
West Wing shows the power plays and
political chess game behind the mak¬
ing of a nation. Flow does art under¬
score the making of power?

Art in the Afternoon Second Tuesday
of each month, 1:15. Docent-led conver¬
sations in the galleries for audiences
with memory loss; designed to lift the
spirits, engage the mind, and provide
a social experience. Free, but preregis¬
tration required; call 216-231-1482.

Select lectures are ticketed. Register
online or by calling the ticket center.

Janet Cardiff Sunday, May 5, 2:00.

The museum and MOCA Cleveland
proudly present Janet Cardiff in an
artist interview in Gartner Auditorium.
Working solo and in collaboration
with husband George Bures Miller,
Cardiff creates audio works and mul¬
timedia installations that challenge
perception by generating unexpected
sensorial experiences. Her sensitive,
experimental approach to art-making
has garnered international acclaim.

The Paradise Institute , a 17-seat movie
theater by Cardiff and Miller on view
at MOCA through June 9, won the
Venice Biennale Special Prize when it
was unveiled in 2001. Forty-Part Motet
(2001) is on view here in the Reid Gal¬
lery May 4-June 9. Don’t miss this rare
opportunity to join the artist in per¬
son. $15/$10 CMA & MOCA members.

The “Wild-Herb Taste” of Umbrian
Painting in the Later 15th Century

Wednesday, May 8, 7:00. In The Cen¬
tral Italian Painters of the Renaissance
(1897), Bernard Berenson asked:
“What did the Central Italians contrib¬
ute to the magic of Renaissance art?”
Then he added, “Even Umbrian paint¬
ing is [now] being studied for its own
wild-herb taste.” Dr. Tom Flenry offers
a talk that complements the Caporaii
exhibition. Presented in partnership
with Cleveland State University. Free.

STROLLER TOURS

Babies welcome! In fact, you need a
baby in tow if you want to join this
group. Join us on the third Wednes¬
day of each month for a casual and
lively discussion led by a museum
educator in the galleries—just for
parents and caregivers and their pre¬
toddler age (18 months and younger)
children. Expect a special kind of out¬
ing that allows for adult conversation
where no one minds if a baby lends
his or her opinion with a coo or a cry.
Tours depart from the information
desk in the atrium.

Tempera, Oil, or Acrylic? Wednesday,
May 15,10:30-11:30

Family Favorites Wednesday, June 19,
10:30-11:30

16

May/June 2013

JOIN IN

Art Cart On select afternoons the
museum offers a hands-on experience
in the galleries. Guided by the Art to
Go team, patrons may handle genuine
works of art in an informal, intergen-
erational, and self-directed format. Art
Cart experiences may be organized for
groups, for a fee. Contact Karen Levin-
sky at 216-707-2467.

Cool Knights Sunday, May 12,1:00-
3:00.Touch genuine pieces of Euro¬
pean armor from the Middle Ages and
Renaissance.

Pompeii Sunday, June 9,1:00-3:00.
Examine unique bronze replicas of
excavated ancient household artifacts
for a hands-on experience that sets
the scene for exploring the special
exhibition.

Community Photo Project In conjunc¬
tion with Carrie Mae Weems: Three
Decades of Photography and Video
(on view June 30-September 29), the
museum invites you to participate in
a community photo project that will
become a living display at the mu¬
seum. Take a photograph that you feel
completes this sentence: “My commu¬
nity is ... ” Submit your photo, your
completed sentence (“My community
is ... ”), first and last name, age, and
medium (cell phone camera, Insta-
gram, digital camera, etc.) via e-mail
to mycommunityis@clevelandart.org.
Rolling submissions for electronic dis¬
play will be accepted through Sunday,
September 29. All photographs must
be submitted electronically. No nudity,
profanity, offensive or insulting mate¬
rial, watermarks, or photos created for
solicitation purposes will be accepted.

Ninja Days Fridays 3:00-7:00, Sun¬
days 12:00-4:00, through May 19.
Exhibition ticket required. Theater
Ninjas will be integrated into the exhi¬
bition itself through a combination of
character-led tours, invisible theater,
installations, and more during spe¬
cial Ninja Days. Visit The Last Days of
Pompeii on Fridays and Sundays for a
unique experience featuring charac¬
ters from The Excavation. No two Ninja
Days will be alike—come often!

Theater Ninjas at the Cleveland
Museum of Art: Final Performance

Wednesday, June 12, 7:00, Ames Fam¬
ily Atrium. Free. Haven’t seen The
Excavation yet? Don’t miss your last
chance to experience this one-of-
a-kind theatrical production! Using
the Ames Family Atrium as a staging
ground for this sprawling choose-
your-own-adventure-style perfor¬
mance, the Theater Ninjas explore the
comic and tragic legacy of Pompeii
through a blend of site-specific per¬
formance and interactive storytelling
in The Excavation , a celebration of the
life, death, and resurrection of this
famous city. This unique collaboration
between the Cleveland Museum of
Art and the Cleveland-based Theater
Ninjas, in conjunction with the Pompeii
exhibition, brings together perfor¬
mance and the visual arts in a produc¬
tion filled with humor, pathos, and
catastrophic volcanic eruptions.

The Art of Meditation June 30, 2:00,
Focus Gallery. Join Buddhist nun Ani
Palmo Rybicki for a discussion about
Buddhist meditation as it relates to the
tantric tradition of Tibet. Ani Palmo
also gives basic meditation instruction
as part of this program. Gain a fresh
perspective and deepen your appre¬
ciation of Tantra in Buddhist Art Ani
Palmo, a native Clevelander, is a nun in
the Tibetan Buddhist tradition and the
director of Songtsen Gampo Buddhist
Center of Cleveland. She has been a
practicing Buddhist since 1988 and an
ordained nun since 1994.

Gallery Host Volunteer Program

Training Wednesdays, May 15-29. Be
a gracious volunteer as a gallery host
in the new interactive space, Gallery
One. Hosts welcome visitors, help
them navigate the space and its in¬
teractives, and converse with patrons
about Gallery One artworks. Appli¬
cants should be enthusiastic, welcom¬
ing, and interested in the museum,
its community, and technology. An
interview at the museum is required.

To schedule an interview or for more
information, contact Patty Edmonson
by May 8: pedmonson@clevelandart.
org.

ART STORIES

NEW! Every Thursday from 10:30-
11:00 (no session July 4), join us in
Studio Play for Art Stories, a weekly
storytime program that combines chil¬
dren’s books, artworks from the CMA
collection, and hands-on activities.
Designed for children ages 2 to 5 and
their favorite grown-up to participate
together, Art Stories is led by museum
educators. Free; preregistration re¬
quired for each session. Space is lim¬
ited. Register in person or by calling
the ticket center, 216-421-7350.

Seasons: Summer Thursday, June 6,
10:30-11:00

In the Garden Thursday, June 13,
10:30-11:00

Food Thursday, June 20,10:30-11:00

Lords, Ladies, and Castles Thursday,
June 27,10:30-11:00

Celebrations Thursday, July 11,10:30-
11:00

Dance, Dance, Dance Thursday, July
18,10:30-11:00

Faraway Places Thursday, July 25,
10:30-11:00

MY VERY FIRST ART CLASS

My Very First Art Class takes a break
while we prepare for Parade the Circle,
but we’ll be back in July!

4 Fridays, July 5-26,10:00-10:45
(ages VA-2VT)

4 Fridays, July 5-26,11:15-12:00 (ages
21/2-5)

Young children and their favorite
grown-up are introduced to art, the
museum, and verbal and visual lit¬
eracy in this program that combines
art-making, storytelling, movement,
and play. July topics: Colot Mobiles ,
Sorting and Matching, and Summer.
One adult/child pair $65, CMA fam¬
ily members $55. Limit 9 adult/child
pairs. Additional child $24.

SAVE THE DATES FOR FALL!

4 Fridays, September 6-27,10:00-
10:45 (ages VA-TA)

4 Fridays, September 6-27,11:15-12:00
(ages TA-S)

17 www.ClevelandArt.org

ART CLASSES FOR CHILDREN AND TEENS

Kids Registration
216-421-7350 or

in person. More
information:
familyyouthinfo@
clevelandart.org or
216-707-2182.

Adult Registration
216-421-7350 or

in person. More
information:
adultstudios@
clevelandart.org
or 216-707-2487.
Supply lists avail¬
able at the ticket
center.

Cancellation
Policy Classes
with insufficient
registration will
be combined or
canceled three
days before class
begins, with en-
rollees notified
and fully refunded.
Refunds are issued
anytime before the
beginning of the
session. After the
first class, con¬
sideration will be
given to refunds
on an individual
basis.

Two sessions for more summer fun!

8 weekdays, Tuesdays and Thursdays,
July 2-30 (no class July 4), 10:00-11:30
(mornings) or 1:00-2:30 (afternoons)

4 Saturdays, July 6-27,10:00-11:30
(mornings) or 1:00-2:30 (afternoons)

Your child can discover the wonders
of the CMA collection and unearth his
or her creativity in the process. Each
class visits our galleries every week,
and then experiments with different
techniques based on masterpieces
they’ve discovered. Students learn by
looking, discussing, and creating.

Most classes are available mornings
and afternoons, except for Parent and
Child and Teen Drawing. Most classes
are available on both Saturdays and
weekdays except for Claymation, Teen
Drawing, and Printmaking.

Art for Parent and Child (age 3 only)

Weekday and Saturday mornings
ONLY. Four hands are better than two!
Parents and children learn together
while creating all kinds of art inspired
by gallery visits. Limit 12 pairs.

Mini-Masters: Color (ages 4-5) Explo¬
ration and discovery are encouraged
as younger students learn about color
in CMA artworks and make their own
colorful renditions.

Summer Breeze (ages 5-6) Paint,
draw, and construct with the energy
of summer in kinetic forms—from kites
and waving flags to things on the
wing.

Inside Out (ages 6-8) Explore what is
on the inside as well as the outside—
from interiors to landscapes, from
what’s inside a mechanical device and
how our skeletons are constructed
to what we wear outside to protect
ourselves.

Made in America (ages 8-10) Explore
the art of Native Americans, settlers
and explorers, turn-of-the-century
decorative arts, and modern-day art¬
ists. What will you make?

Nature Study (ages 10-12) Young art¬
ists study and recreate both the beau¬
tiful and the unusual in nature using
paint, colored pencil, and other media.

Printmaking for Teens (ages 12-17)

Weekday afternoons ONLY. Create
one-of-a-kind monotypes, multiple
linoleum-cut prints, and even silk-
screened images. Study various types
of prints in our collection, and learn
how to print with and without a press.

Teen Drawing Workshop (ages 13-17)

Saturday afternoons ONLY. Teens use
perspective, contour, and shading to
create expressive drawings and linear
experiments. The class learns from ob¬
servation in the galleries and exercises
in the classroom.

Animation and Claymation: Bringing
Art to Life! (ages 11 and up) Weekday
mornings ONLY. Experiment with
scratch film animation, etching, and
coloring directly onto film with X-acto
knives and markers during the first
few days. We’ll post the finished prod¬
ucts on YouTube. Spend the remaining
days designing sets, and learn how
to create characters from armatures
and polymer clay. Then use our edit¬
ing equipment to produce stop-action
animation shorts. Instructor: Dave
Shaw. Limit 10.

FEES AND REGISTRATION
8 weekdays, Tuesdays and Thursdays:

Most classes $112, CMA family mem¬
bers $96. Art for Parent and Child
$128/$112. Claymation $160/$120.

4 Saturdays: Most classes $56, CMA
family members $48. Art for Parent
and Child $64/$56.

Museum members have priority
registration beginning May 1. Non¬
members may register beginning May
16. Register in person or call the ticket
center at 216-421-7350. $10 late fee
per order beginning one week before
class starts.

Save the dates for fall!

6 Saturdays, October 19-November
23,10:00-11:30 or 1:00-2:30

18 May/June 2013

ART TOGETHER

Art Together is about families mak¬
ing, sharing, and having fun together
in the galleries and in the classroom.
Each workshop is a unique hands-on
experience that links art-making to
one of our special exhibitions. Visits to
special exhibitions inspire exploration
of a wide variety of art techniques and
materials. Whether you attend one
workshop or participate in the whole
series, we encourage you and your
family to make Art Together. Each
adult/child pair $36, CMA members
$30; each additional person $5.

Silk Painting Sunday, June 30,1:00-
3:30. Celebrate the opening of the
north wing galleries with a silk paint¬
ing workshop. The beauty and exuber¬
ance of Japanese art serves as our
inspiration. Participants combine line
and color in their own original designs.
Registration for members begins May
1. Nonmembers may register begin¬
ning May 15.

COMING THIS AUGUST
Art Together Friday Workshops Fri¬
days, August 2-23,10:00-11:30. Take
advantage of those days before school
starts with these workshops just right
for the whole family—all ages wel¬
come. Each adult/child pair $24, CMA
members $20; each additional person
$5. Sign up for individual workshops
or all four. Registration begins in July.

August 2 Color, Color, Color
August 9 Sculpture
August 16 The Great Outdoors
August 23 Animals In Art

SUMMER ADULT STUDIOS

SECOND SUNDAYS

Bring your family to the Cleveland
Museum of Art on the second Sunday
of every month from 11:00-4:00 for
a variety of family-friendly activities
including art-making, storytelling,
scavenger hunts, and movement-
based gallery talks—no two Sundays
are the same! Second Sundays feature
a unique theme each month in con¬
junction with the museum’s collection,
exhibitions, and events.

May Menagerie Sunday, May 12,11:00-
4:00. It’s a zoo in here! Explore ani¬
mals in the museum’s collection and in
the Caporali Missal special exhibition
through hands-on art activities, Art
Stories, our Cool Knights Art Cart, and
other fun family-friendly activities!

Summer Sojourns Sunday, June 9,
11:00-4:00. On the day after Parade
the Circle, kick back and relax at this
low-key family day. Go on a scavenger
hunt at your own pace, experience our
Pompeii Art Cart, or sit in on Art Sto¬
ries. Let’s celebrate summer together!

Learn from artists in informal studios
with individual attention.

Register in person or call the box
office at 216-421-7350. For more in¬
formation, contact Dyane Hanslik at
dhanslik@clevelandart.org. Supply
lists available at the ticket center.

Intro to Chinese Painting 4-Week
Intensive: 4 Gentlemen 4 Tuesdays,
June 4-25,12:30-4:30. Learn about
the philosophy behind Chinese paint¬
ing and how to paint the 4 gentlemen
in this 4-part workshop. Instructor:
Mitzi Lai. All sessions $230, CMA
members $180. Individual sessions
$51, CMA members $47 (must take
session 1). Session 1: Philosophy and
Bamboo. This class is a prerequisite
and must be taken first. Session 2:
Plum Blossom ; Session 3: Orchid;
Session 4: Chrysanthemum.

Introduction to Painting 8 Wednes¬
days, June 12-August 7 (no class July
3), 10:00-12:30. Beginners learn sim¬
ple painting techniques in color mixing
and application with acrylic paints.
Still-life objects serve as inspiration for
this low-pressure course. Instructor:
Cliff Novak. $195, CMA members $150.

Drawing in the Galleries 8 Wednes¬
days, June 12-July 31,10:00-12:30 or
6:00-8:30. Sculpture and paintings
in the museum inspire drawing in
charcoal and various pencils, includ¬
ing colored conte pencil. All skill levels
welcome. Practice, expression, and
technique are equally encouraged.
High school students needing obser¬
vation work for college admission are
always welcome. Instructor: Susan
Gray Be. $195, CMA members $150;
includes supplies.

Composition in Oil 7 Fridays, June
14-July 26,10:00-12:30 or 6:00-8:30.
Aesthetic expression emerges as
compositions are refined with con¬
trasting color, pattern, texture, tone,
and line. Charcoal drawing on the first
day leads to underpainting, wet-into-
wet blending, and glazing. Geared to
all levels. Beginners and high school
students needing observation work
are always welcome. Instructor: Susan
Gray Be. $170, CMA members $130;
includes model fee. Bring your own
supplies or buy for $80 (to be paid the
first day of class).

Introduction to Drawing 8 Fridays,
June 14-August 2, 6:00-8:30. Here’s
a great place to start. Beginners learn
simple yet effective drawing tech¬
niques using basic graphite and conte
crayon on paper. Feel free to bring
your own supplies. Instructor: Darius
Steward. $202, CMA members $155;
includes supplies.

Master Class: Life Drawing Saturday,
June 15,1:00-4:00. The Cleveland Art¬
ists Foundation and CMA collaborate
on a life drawing class for experienced
artists with Cleveland Arts Prize win¬
ner, master artist, and educator Shirley
Aley Campbell. For further information
and supply list please contact Lauren
Hansgen at 216-227-9507. $60, CAF
& CMA members $46; includes model
fee and parking.

Oil Painting 8 Sundays, June 16-
August 4,1:00-3:30. Learn the paint¬
ing techniques that Rembrandt and his
contemporaries practiced centuries
ago. Students will become familiar
with the materials of oil painting, color
mixing, and brush technique. All levels
welcome. Instructor: Jeremy Tugeau.
$202, CMA members $155.

All-Day Workshop: Painting on Silk

Saturdays, June 22 and 29,10:00-
4:00 (lunch on your own). Learn skills
to paint on silk using gutta, a linear
resist. After demonstration and dis¬
cussion of design ideas, you’re ready
for a brief practice period followed by
painting your own silk scarf. Instruc¬
tor: fiber artist Susan Skove. $80, CMA
members $65; plus $25 materials fee
to instructor for materials and silk
fabric.

Gestural Drawing in the Atrium
and Galleries 4 Sundays, July 1-22,
12:30-3:00. Experience the brilliant
light of the new atrium while drawing
a live model! Other afternoons will be
spent in the galleries. Practice, ex¬
pression, and technique encouraged.
Quick poses in charcoal and conte are
followed by longer drawings in vari¬
ous dry media. Instructor: Susan Gray
Be. $95, CMA members $85; includes
model for one session. All supplies
provided.

19 www.ClevelandArt.org

INGALLS LIBRARY

Further Study Library programs such as this one based on
portraiture in the collection introduce visitors to a world-class
scholarly resource.

ART CREW

Art & Fiction Bookclub: Clara and Mr.
Tiffany: A Novel by Susan Vreeland

3 Wednesdays, May 1-15,1:30-2:45.
Clara Driscoll worked behind the
scenes as head of the women’s divi¬
sion for Tiffany Studios and conceived
many of the iconic designs attributed
to Louis Comfort Tiffany. She was
never publicly acknowledged for her
artistic contributions until 2007 when
the exhibition A New Light on Tiffany:
Clara Driscoll and the Tiffany Girls was
organized by the New York Historical
Society. Susan Vreeland weaves an
intriguing tale based on Clara’s cor¬
respondence, which is housed at the
Queens Historical Society and the
Kent State University Libraries. The
book discussion on May 8 includes a
telephone conversation with the
author.

Characters based on objects in the
museum’s collection give the CMA a
touchable presence and vitality in the
community. $50 nonrefundable book¬
ing fee and $50/hour with a two-hour
minimum for each character and han¬
dler. Contact Community Arts at 216-
707-2483 or e-mail commartsinfo@
clevelandart.org.

As part of this Art & Fiction Book Club
series, participants will meet at Lake
View Cemetery on May 15 for a guided
tour of Wade Chapel and the Garfield
Monument. $50, CMA members $40.

The museum store stocks each Art &
Fiction Book Club title. CMA members
receive a 15% discount on all
purchases.

TEXTILE ART
ALLIANCE EVENTS

Annual Luncheon Wednesday, May
8 at Landerhaven, 6111 Landerhaven
Drive, Mayfield Heights 44124. Fea¬
tured speaker: Louise W. Mackie,
Curator of Textiles and Islamic Art.
Join us for our annual luncheon. Fee;
reservations required. Contact Allison
Tillinger Schmid at 216-707-2669.

Sherry and Sharing Sunday, June
2, 2:00-4:00, private home. Enjoy
a glass of sherry and light refresh¬
ments at this informal gathering.
Participants may bring current textile
projects or acquisitions for “show and
tell,” or just visit and celebrate TAA’s
78th year. Guests encouraged, free
event. Come and share in the fun!
Reservations: Nina Setrakian,
216-765-9886, ninasetrakian@
roadrunner.com.

UPCOMING ART & FICTION BOOK
CLUB TITLES

July Stealing the Mystic Lamb by Noah
Charney

Ongoing Book Sale The ongoing book
sale goes on summer hiatus begin¬
ning June 1. Please visit the book sale
in May for a new selection of books,
located on the shelves opposite the
library’s recent acquisitions area, with
deeper discounts each week.

Library Program Tickets Call 1-888-
CMA-0033 or visit www.clevelandart.
org/tickets for tickets to programs.

For specific questions regarding li¬
brary programs, please call the refer¬
ence desk at 216-707-2530.

FOR TEACHERS

Art to Go See and touch amazing
works of art up to 4,000 years old as
museum staff and trained volunteers
come to you with objects from the
Education Art Collection. Hands-on
interactive presentations are 40-60
minutes long and scheduled Monday
through Thursday, 9:30-2:30, plus
Wednesday evenings and preschool
presentations on Fridays. New re¬
duced fees! Topics, fees, and infor¬
mation are at ClevelandArt.org or by
calling Karen Levinsky at 216-707-2467.

Early Childhood Educator Workshop:
Storytelling and Art Saturday, May
4,10:00-1:00. Explore techniques for
using works in the CMA collection to
spark your early learners’ creativity
and hone language arts. Most ap¬
propriate for educators of pre-K to 1st
grade students, but teachers of all age
levels are welcome. $25, TRC Advan¬
tage members $20; includes supplies
and parking. Info: Liz Wilcox-Clay at
lclay@clevelandart.org or 216-707-
2181.

Coils: Shapes, Forms, and Surfaces

(in partnership with the Cleveland In¬
stitute of Art) Tuesday, July 30-Thurs-
day, August 1, 9:30-3:30. Explore how
the coil-building process has been
used for centuries to create sophis¬
ticated vessels, with examples from
many cultures and time periods. In
the studio, discover basic coil-rolling,
extrusion, decoration, and once-firing.
Then, explore applications for the
classroom to use with your own stu¬
dents. Open to educators of all skill
levels as well as potters and sculptors.
Participants may be eligible to receive
college credit from Ashland University
for an additional fee. Cost TBD; in¬
cludes supplies and parking. Info: Dale
Hilton at 216-707-2491 or dhilton@
clevelandart.org.

Teacher Resource Center Visit the
TRC for lesson plans, books, and other
resources to support your curriculum.
Thematic teaching kits are avail¬
able for checkout exclusively for TRC
Advantage members. Join TRC Ad¬
vantage to receive discounts on work¬
shops, create a customized curriculum
plan for your classroom, and more!
Individual and school benefit levels are
available. Info: Dale Hilton at dhilton@
clevelandart.org or 216-707-2491.

20 May/June 2013

Read It Online!

Cleveland Art is

available online at
www.ClevelandArt.
org/MembersOnly.
Conserve paper,
reduce costs, and
access your issues
anytime by signing
up to receive your
magazine elec¬
tronically in Adobe
Acrobat pdf format.
To sign up, e-mail
membership@
clevelandart.org.
Please recycle your
printed magazine
if you don’t keep it
forever.

TRANSFORMATION

THANKS

Beginning with this issue, the
museum will recognize the an¬
nual commitment of donors at the
Collectors Circle level and above,
featured throughout the year on
our Donor Recognition sign located
in the Gallery One corridor. During
May and June we proudly acknowl¬
edge the annual support of the
following donors:

Randall J. and Virginia N. Barbato
Hanna H. and James T. Bartlett
Fred and Laura Ruth Bidwell
Marilyn and Larry Blaustein
Mr. and Mrs. Charles P. Bolton
Leigh Carter
Dr. and Mrs. John Collis
Sarah S. and Alexander M. Cutler

GIFTS FOR MOTHER’S DAY
AND FATHER’S DAY

Vase of Flowers Scarf Known for his
dark, velvety charcoal drawings and
lithographs, Odilon Redon (French,
1840-1916) began to work predomi¬
nantly in oil and pastel after 1900, thus
enlisting color in his explorations of
the realm of dreams and the imagina¬
tion. This striking scarf with bold col¬
ors was inspired by his painting Vase
of Flowers. Redon used his knowledge
of botany as a starting point, but
gave the flowers a sensuous form and
heightened luminosity to fulfill his am¬
bition of conveying nature “as seen in
a dream.” 100% silk; 54 x 13 in. Hand-
rolled hem. $65 regular price.

Stainless Steel Wallet With an ul-
trathin contemporary profile, these
wallets are made of a specialized
industrial stainless steel fabric that
prevents credit card fraud by block¬
ing nondeliberate communication by
RFID-enabled smart cards and pass¬
ports. Discount on all styles. Stewart/
Stand. $39-$75 regular price.

AN ONLINE GUIDE TO UNDERSTANDING GIFT PLANNING

Walking through the halls of the mu¬
seum each day we are reminded of
just how powerful a planned gift can
be. Through the vision, leadership, and
thoughtful gift planning of our found¬
ers John Huntington, Hinman Hurlbut,
Horace Kelly, and Jeptha Wade II, the
Cleveland Museum of Art was estab¬
lished in 1916.

Nearly one hundred years later
through the generosity and vision of
individuals like our founders, the mu¬
seum remains free “for the benefit of
all the people forever.” Making a gift to
the Cleveland Museum of Art through
planned giving can be done regard¬
less of your net worth, using a variety
of fiscal planning tools. Through this
strategic planning you may find a
planned giving vehicle that lets you
address your own financial concerns
and challenges while also creating a
legacy that will extend the benefits of
your generosity far into the future and
on a much broader scale.

By visiting the Cleveland Museum
of Art’s planned giving pages on the
web site you can begin to explore
the vehicle that works best for you.
Familiarize yourself with different
options and their benefits by compar¬
ing planned gift options side by side.
Learn more about addressing specific
concerns related to making a planned
gift or use our interactive Life-Stage
Gift Planner™ to view various planned
giving strategies. To explore your op¬
tions please visit www.clevelandart.
giftplans.org. To speak to a member
of our staff, contact Diane M.
Strachan, CFRE, at 216-707-2585 or
dstrachan@clevelandart.org or
Jessica Anderson at 216-707-2198
or janderson@clevelandart.org.

25% off either or both for members
May 1-June 30.

21 www.ClevelandArt.org

SUN 10-5 MON closed TUE 10-5 WED 10-9 THU 10-5 FRI 10-9 SAT 10-5

In Another Country Isabelle Huppert x 3

4

Early Childhood
Educator Workshop

10:00-1:00 Storytelling
and Art R$

Basic Parade Work¬
shop 1:30-4:30 P

Guided Tour 1:30
Tour 2:30 Pompeii T

1

Registration Begins

Art Classes for Chil¬
dren and Teens R$

Guided Tour 1:30

Book Club Begins 1:30
Clara and Mr. Tiffany

Susan Vreeland R$

Tour 2:30 Pompeii T

Gallery Concert 6:00
CIM young artists

Film 7:00 All Together $

Performance 7:30
California Masterworks
Cleveland Orchestra $
Free preconcert talk
at 6:00

2

Guided Tour 1:30
Tour 2:30 Pompeii T

3

Ninja Day 3:00-7:00 T

Guided Tour 1:30

Tour 2:30 Caporali
Missal, British Drawings

MIX up at CMA 5:00-
11:00 Compositions

Basic Parade Work¬
shop 6:00-9:00 P

Film 7:00 Cheerful
Weather for the
Wedding $

Performance 7:30
California Masterworks
Cleveland Orchestra $
Free preconcert talk
at 6:00

5 6

Ninja Day 12:00-4:00 Museum closed

T

Basic Parade Work¬
shop 1:30-4:30 P

Guided Tour 1:30

Film 1:30 Cheerful
Weather for the
Wedding $

Lecture 2:00 Janet
Cardiff $

Tour 2:30 Caporali
Missal, British Drawings

7

Guided Tour 1:30
Tour 2:30 Pompeii T

8

Guided Tour 1:30
Tour 2:30 Pompeii T

Lecture 7:00 The “Wild
Herb Taste” of Umbrian
Painting in the Later
15th Century
Tom Henry

Film 7:00 John Dies at
the End $

9

Guided Tour 1:30
Tour 2:30 Pompeii T

10

Ninja Day 3:00-7:00 T

Guided Tour 1:30

Basic Parade Work¬
shop 6:00-9:00 P

Film 7:00 Sound CityS

n

Basic Parade Work¬
shop 1:30-4:30 P

Parade Stilt Week¬
end 1:30-4:30 (order
stilts P)

Guided Tour 1:30
Tour 2:30 Pompeii

12

13

14

15

16

17

18

Second Sunday 11:00-

Museum closed

Art in the Afternoon

Stroller Tour 10:30-

Guided Tour 1:30

Guided Tour 1:30

Basic Parade Work¬

4:00 May Menagerie

1:15 R

11:30 Tempera, Oil, or

Art Bites 12:30 Game

Tour 230 Caporali

shop 1:30-4:30 P

Ninja Day 12:00-4:00

Guided Tour 1:30

Acrylic?

of Thrones

Missal, British Drawings

Special Parade Work¬

T

Art Cart 1:00-3:00

Cool Knights

Guided Tour 1:30

Basic Parade Work¬
shop 1:30-4:30 P

Parade Stilt Week¬
end 1:30-4:30 (order
stilts P)

Tour 2:30 Caporali Mis¬
sal, British Drawings

Tour 2:30 Pompeii T

Guided Tour 1:30

Tour 2:30 Pompeii T

Talk in the Exhibition

7:00 Picturing Pompeii
Mallory Potash T

Film 7:00 In Another
Country $

Tour 2:30 Pompeii

Ninja Day 3:00-7:00 T

Basic Parade Work¬
shop 6:00-9:00 P

Film 7:00 Happy

People: A Year in the
Taiga $

shop 1:30-4:30 Stilt¬
dancing (novice) P

Guided Tour 1:30

Tour 2:30 Pompeii T

19 20

Ninja Day 12:00-4:00 T Museum closed

Basic Parade Work¬
shop 1:30-4:30 P

Special Parade Work¬
shop 1:30-4:30 Stilt-
dancing (advanced) P

Guided Tour 1:30

Tour 2:30 Caporali Mis¬
sal, British Drawings

21

Guided Tour 1:30
Tour 2:30 Pompeii T

22

Guided Tour 1:30
Tour 2:30 Pompeii T

Film 7:00 The Law in
These Parts $

23

Guided Tour 1:30
Tour 2:30 Pompeii T

24

Guided Tour 1:30
Tour 230 Pompeii T

Basic Parade Work¬
shop 6:00-9:00 P

Film 6:45 Future
Weather$

25

Basic Parade Work¬
shop 1:30-4:30 P

Special Parade Work¬
shop 1:30-4:30 Stilt-
dancing (novice) P

Guided Tour 1:30
Tour 2:30 Pompeii T

26

27

28

29

30

31

Basic Parade Work¬

Museum closed

Guided Tour 1:30

Guided Tour 1:30

Guided Tour 1:30

Guided Tour 1:30

shop 1:30-4:30 P

Special Parade Work¬
shop 1:30-4:30 Stilt-
dancing (advanced) P

Guided Tour 1:30

Tour 2:30 Pompeii T

Tour 2:30 Pompeii T

Tour 2:30 Pompeii T

Film 6:30 Sins of
Pompeii $

Talk in the Exhibition

7:00, focus gallery.
Illuminating the Light¬
ening Path: Art of the
Buddhist Tantra Sonya
Rhie Quintanilla

Tour 2:30 Pompeii T

Tour 2:30 Pompeii T

Basic Parade Work¬
shop 6:00-9:00 P

Film 6:30 Dave Filipi
presents Rare Baseball
Films: The Newsreels,
Part 2 S

WED 10-9

I 10-9

SAT 10-5

SUN 10-5 MON closed TUE 10-5

$ Admission fee
R Reservation required
T Ticket required
M Members only

P Parade-related;
fees vary

1

Basic Parade Work¬
shop 1:30-4:30 P

Special Parade Work¬
shop 1:30-4:30 Stilt¬
dancing (novice) P

Guided Tour 1:30
Tour 2:30 Pompeii T

2

3

4

5

6

7

8

Basic Parade Work¬
shop 1:30-4:30 P

Special Parade Work¬
shop 1:30-4:30 Stilt¬
dancing (advanced) P

Guided Tour 1:30

Museum closed

Adult Studio Begins

12:30-4:30 Intro to
Chinese Painting R$

Guided Tour 1:30

Tour 2:30 Pompeii T

Guided Tour 1:30

Tour 2:30 Pompeii T

Film 7:00 The Source
Family $

Art Stories 10:30-11:00
Seasons: Summer R

Guided Tour 1:30

Tour 2:30 Pompeii T

Guided Tour 1:30

Tour 2:30 Pompeii T

MIX at CMA 5:00-9:00

$

Film 7:00 TrashedS

Parade the Circle

11:00-4:00 Parade at
noon, fun all day

Guided Tour 1:30

Tour 2:30 Pompeii T

Tour 2:30 Pompeii T

9

10

11

12

13

14

15

Second Sunday

11:00-4:00 Summer
Sojourns

Art Cart 1:00-3:00
Pompeii

Guided Tour 1:30

Tour 2:30 Pompeii T

Museum closed

Guided Tour 1:30

Art in the Afternoon

1:15 R

Tour 2:30 Pompeii T

Offsite Film 7:00 at
the Capitol Theatre,
1390 W. 65th St.

Voyage to Italy $

Adult Studios Begin

10:00-12:30 Intro¬
duction to Painting;
10:00-12:30 or 6:00-
8:30 Drawing in the
Galleries R$

Guided Tour 1:30

Tour 2:30 Pompeii T

Film 7:00 Greenwich
Village: Music That De¬
fined a Generation $

Art Stories 10:30-
11:00 In the Garden R

Art Bites 12:30 The

West Wing

Guided Tour 1:30

Tour 2:30 Pompeii T

Adult Studios Begin

10:00-12:30 or 6:00-
8:30 Composition in

Oil; 6:00-8:30 Intro¬
duction to Drawing R$

Guided Tour 1:30

Tour 2:30 Pompeii T

Film 7:00 Greenwich
Village: Music That De¬
fined a Generation $

Master Class 1:00-
4:00 Life Drawing R$

Guided Tour 1:30

Tour 2:30 Pompeii T

Theater Ninjas 7:00
atrium The Excavation:
final performance

16

17

18

19

20

21

22

Adult Studio Begins

1:00-3:30 Oil Paint¬
ing R$

Guided Tour 1:30

Film 1:30 In Bed with

Museum closed

Guided Tour 1:30

Tour 2:30 Pompeii T

Stroller Tour 10:30-
11:30 Family Fa vorites

R$

Guided Tour 1:30

Tour 2:30 Pompeii T

Art Stories 10:30-
11:00 Food*

Guided Tour 1:30

Tour 2:30 Pompeii T

Guided Tour 1:30

Tour 2:30 Pompeii T

Film 7:00 Night Across
the Street$

All-Day Workshop

10:00-4:00 Painting
on Silk R$

Guided Tour 1:30

Tour 2:30 Pompeii T

Ulysses $

Tour 2:30 Pompeii T

Film 7:00 OurSchool$

Party 7:00-2:00

Solstice $

23

24

25

26

27

28

29

Guided Tour 1:30

Tour 2:30 Pompeii T

Museum closed

Guided Tour 1:30

Tour 2:30 Pompeii T

Guided Tour 1:30

Tour 2:30 Pompeii T

Film 7:00 Porfirio $

Art Stories 10:30-11:00
Kings and Queens R

Guided Tour 1:30

Tour 2:30 Pompeii T

Guided Tour 1:30

Tour 2:30 Pompeii T
Film 7:00 War Witch $

All-Day Workshop

10:00-4:00 Painting
on Silk R$

Guided Tour 1:30

Tour 2:30 Pompeii T

30

Art Together 1:00-
3:30 Silk Painting R$

Guided Tour 1:30

Workshop 2:00 Tantra
Meditation

Tour 2:30 Pompeii T

ONLINE

CALENDAR

Sortable online
calendar at
ClevelandArt.org/
calendar

Trashed Destination detritus

Periodicals
postage paid at
Cleveland, Ohio

THE CLEVELAND
MUSEUM OF ART

11150 East Boulevard
University Circle
Cleveland,Ohio
44106-1797

Dated Material
Do Not Delay

www.ClevelandArt.org

Museum Hours

Tuesday, Thursday,
Saturday, Sunday
10:00-5:00

Wednesday, Friday
10:00-9:00

Closed Monday

Administrative

Telephones

216-421-7340

1-877-262-4748

Membership

216-707-2268

membership@

clevelandart.org

Box Office

216-421-7350 or
1-888-CMA-0033
Fax 216-707-6659
Nonrefundable
service fees apply for
phone and internet
orders.

Facebook

Cleveland Museum
of Art

Twitter

@ClevelandArt

Blog

blog.clevelandart.

org

Provenance
Restaurant
and Cafe

216-707-2600

Museum Store

216-707-2333

Ingalls Library

Tuesday-Friday
10:00-5:00
Wednesday evenings
until 7:30 (through
May 4)

Reference desk:
216-707-2530

Parking Garage

0-30 minutes free;
$6 for 30 minutes to
2 hours; then $1 per
30 minutes to $12
max. $5 after 5:00

PARADE THE CIRCLE
P. 15

EDUCATION P. 16